The Oscars are just around the corner, but this year’s nominations have left many conservative commentators shaking their heads. It seems that the Academy has outdone itself in selecting films and talent that prioritize wokeness over quality. This year’s event promises to showcase a cavalcade of bizarre choices, making one wonder if the nomination committee consulted a magic eight ball rather than actual critics.
First and foremost, the choice of host is somewhat baffling. Conan O’Brien, once hailed as one of America’s comedic treasures, has not exactly been on top of his game in recent years. While some may prefer him over the likes of Jimmy Kimmel—who might as well be a piñata filled with partisan commentary—it’s hard to justify why Conan is deemed the safer option. Perhaps the Academy fears that a more provocative figure like Ricky Gervais might cause a cultural ruckus and expose the absurdities of the nominations, which is exactly what seems to be in store.
Among the nominees, the standout—perhaps unwittingly—has to be “Emilia Perez,” a film that has left many viewers scratching their heads. This peculiar tale, centered around a transgender Mexican drug cartel leader, managed to snag a staggering 13 nominations. One might think that awards like these are for exceptional storytelling and artistry. Instead, this movie seems to have evaded scrutiny simply by virtue of its thematic choice, which aligns all too conveniently with the Academy’s progressive agenda. Comparing it to cinematic masterpieces like “All About Eve,” which garnered 14 nominations, feels like an insult to the classic.
The actor’s category has its own share of eyebrow-raising nominees. For instance, a transgender individual has been nominated for Best Actress—a category that, to be fair, ought to be reconsidered in the face of such nominations. The continued division between “actor” and “actress” now appears almost nonsensical in an industry that is working to blur such distinctions. Yet here we are, faced with a situation where a biological male is competing for an award typically reserved for biological females. It certainly raises questions, especially for those who value fair competition based on talent rather than identity.
Then there are the films themselves, most of which seem to prioritize political posturing over genuine entertainment. “The Apprentice,” a film purportedly centered around Donald Trump’s early years, fails to gain traction at the box office, reinforcing the notion that audiences are not keen on politicized narratives that lack entertainment value. Meanwhile, the nominations for foreign films appear equally disconnected from public interest, and documentaries that challenge mainstream agendas—like a notable film critical of anti-Israel sentiments—have been overlooked. Instead, the Academy opts for works that echo their political fidelity.
In closing, it seems the Oscars are set to be a spectacle more aligned with pushing a progressive agenda than celebrating true artistry. The producers might be tossing in PR spins to keep up with the times, but many viewers—conservative or not—are likely seeing through this veil. As Hollywood puts wokeness front and center, it might just end up alienating the very audiences it seeks to impress. After all, when it comes to true artistry, sincerity and quality should always prevail over trendy politics. The real question remains: will anyone actually tune in to witness the show, or are viewers too busy rolling their eyes at the latest round of entertainment-induced absurdity?
